The greatest of Marlys
She's back! This is a Lynda Barry double-tall: the long-awaited collection of the best strips from her syndicated comics. Way back in the mid-1980s, comic illustrator and writer Lynda Barry introduced the character of Marlys Mullen, her crazy groovy teenage sister Maybonne, her sensitive and strange little brother Freddie, a mother like no other, and an array of cousins and friends from the 'hood. This oversized book presents the long strange journey through puberty and life that Marlys and company have experienced. Marlys's universe and galaxy are funny, rude, disturbing, tearful . . . in short, very, very Lynda Barry.
The Freddie Stories
THE TRIALS AND TRIBULATIONS OF TROUBLED ADOLESCENTS FROM BARRY'S ACCLAIMED COMIC The Freddie Stories traces a year in the life of Freddie, the youngest member of the dysfunctional Mullen family. These four-panel entries--each representing an episode in the life of Freddie--bring to life adolescence, pimples and all. No matter what happens, it all seems to go wrong for Freddie--he's set up as an arsonist, mercilessly teased in school, and bossed around by classmates. With consummate skill, Lynda Barry writes about the cruelty of children at this most vulnerable age when the friends they make and the paths they choose can forever change their lives. In The Freddie Stories every word of dialogue, every piece of narration, and every dark line evokes adolescent angst. These short, moving stories are collected from Barry's beloved Ernie Pook's Comeek, which was serialized across North America for two decades. Re-packaged here with a brand-new afterword from Lynda Barry, The Freddie Stories is an adult tale about just how hard it is to be a teenager, and it's classic Barry work--poignant, insightful, and true.
Come over come over
Cartoons describe the experiences of two sisters, Maybonne and Marlys, and look at school, parents, adolescence, runaways, friendships, child abuse, divorce, and alcoholism
One Hundred Demons
“You’ll wonder how anything can be so sad and so funny at the same time.” —Lev Grossman, Time Inspired by a sixteenth-century Zen monk’s painting of a hundred demons chasing each other across a long scroll, acclaimed cartoonist Lynda Barry confronts various demons from her life in seventeen full-color vignettes. In Barry’s hand, demons are the life moments that haunt you, form you, and stay with you: your worst boyfriend; kickball games on a warm summer night; watching your baby brother dance; the smell of various houses in the neighborhood you grew up in; or the day you realize your childhood is long behind you and you are officially a teenager. As a cartoonist, Lynda Barry has the innate ability to zero in on the essence of truth, a magical quality that has made her book One! Hundred! Demons! an enduring classic of the early twenty-first century. In the book’s intro, however, Barry throws the idea of truth out of the window by asking the reader to decide if fiction can have truth and if autobiography can have a fiction, a hybrid that Barry coins “autobiofictionalography.” As readers get to know Barry’s demons, they realize that the actual truth no longer matters because the universality of Barry’s comics, true or untrue, reigns supreme.
A series of portraits by the creator of What It Is follows a myopic monkey through her everyday routines of preparing food, waiting for the bus, hogging the remote and associating with her imaginary friend.
A reissue of Lynda Barry's classic second cartoon collection: humorous and poignant reflections on modern love and life. Like Girls and Boys, Big Ideas features many of her greatest cartoons, including her menacing "Poodle with a Mohawk". Line drawings throughout.
The Good Times Are Killing Me
Lynda Barry’s classic heartbreaking and heartwarming coming of age novella back in print Young Edna Arkins lives in a neighborhood that is rapidly changing, thanks to white flight from urban Seattle in the late 1960s. As the world changes around her, Edna is exposed to the callous racism of adults; sometimes subtle and other times blatant, but always stinging. At the heart of The Good Times Are Killing Me is the forbidden friendship between Edna who is white and Bonna Willis who is black, and how the world around them forces them to challenge their loyalties to each other. As Barry does in her comics, she perfectly captures the awkward and earnest adolescent voice as Edna moves from childhood to middle school. Originally published in 1988, The Good Times Are Killing Me is as relevant now as it ever was. Its influence cannot be overstated as it was adapted into an off-Broadway play and won the Washington State Governor's Award. D+Q will be publishing the novella in hardcover with a new cover and the color illustrations from the first edition.
Blabber Blabber Blabber
From her first comics published in the Evergeen State College school paper to her influential weekly comic strip, Ernie Pook's Comeek; from her bestselling creative how-to memoir comic books, What It Is and Picture This, to her novels, graphic memoirs, plays, and awards in between, Lynda Barry has been part of the North American alternative comics scene for thirty years. Fans around the world rejoiced at D+Q's announcement of Blabber Blabber Blabber: Volume 1 of Everything, which collects all of the seminal Ernie Pook's Comeek, some of which has been out of print for decades, and includes her earliest books, such as Girls and Boys and Big Ideas, and features an introduction penned by Barry, complete with photographs. Reflective of the early 1980s before the appearance of Barry's well-known characters Marlys and Arna, the comics in Blabber Blabber Blabber cover the more adult subjects of bad love, bad perms, being single, Prince, and miserable break-ups--resulting in one of the most oft-quoted Barry sayings: "Love is an exploding cigar which we all willingly smoke." Though Barry's early drawing style is most often described as "scratchy," her affinity for large swaths of text and narration; her fondness for exclamation marks, angular shapes, and cursive penmanship; and her uncanny ability to zero in on the very essence of life all within a few panels is as present as ever in this collection.
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